"But if you do not understand what I say, please indicate the same with your barbarous hand!"—What makes Cassandra at last speak? I think that the Elder probably touches her, and the touch as it were breaks the spell.
P. 47, l. 1072, Cassandra.]—"Otototoi" really takes the place of a stage direction: she utters a long low sob.—The exclamation which I have translated "Dreams!" seems to occur when people see ghosts or visions. Alcestis, 261; Prometheus, 567. Cf. Phoenissae 1296.—"Mine enemy!" The name "Apollon" suggested "apollyon," Destroying . . . the form which is actually used in the Book of Revelation (Rev. ix. 11).
Observe how, during the lyric scene, Cassandra's vision grows steadily more definite. First vague horror of the House: then the sobbing of children, slain long ago: then, a new deed of blood coming; a woman in it: a wife: then, with a great effort, an attempt to describe the actual slaying in the bath. Lastly, the sight of herself among the slain. (This last point is greatly developed by Euripedes, Trojan Women, ll. 445 ff., pp. 33 f.)
The story of the Children of Thyestes is given below, ll. 1590 ff., p. 73. Procnê (or Philomêla) was an Attic princess who, in fury against her Thracian husband, Têreus, killed their child Itys, or Itylus, and was changed into a nightingale, to weep for him for ever.
P. 52, ll. 1178 ff.]—Dialogue. During the lyrics Cassandra has been "possessed" or "entranced": the turn to dialogue marks a conscious attempt to control herself and state plainly her message of warning. In order to prove her power, she first tells the Elders of deeds done in the past which are known to them but cannot have been known to her. When once they are convinced of her true seercraft, she will be able to warn them of what is coming!—The short 'stichomŷthia' (line for line dialogue), dealing in awed whispers with things which can
